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This book presents a study and catalogue of the early Christian stone architectural decorations from the Negev Desert (Israel). This work is based on the largest sample of decorated architectural elements from the Byzantine Negev (4th–7th century CE) to have been comparatively studied. The analysis provides a key for the characteristics of these aniconic, carved decorations, and an in-depth examination of their symbolic meaning.
The Byzantine era was a time of the formation of the Abrahamic religions and a battleground for people’s hearts and minds. This book shows that, during the time of the Byzantine Empire, the synagogues in Palaestina developed a visual language adhering to traditional literary sources. Until now, scholars believed that Judaism was oblivious to all art forms, regarding them as mere “decoration.” This book shows that, contrary to those beliefs, Jewish art was, in fact, flourishing in this period. The visual language that emerged is a trope that utilizes literal and figurative readings to arrive at an inquisitive mixture—a probing language that facilitates learning. It is a visual language of “becoming,” of inward introspection and outward scrutiny. This new analysis goes beyond the limits of compositional rules, and requires an analytical, as well as emotive, thought process, to form a cultural interpretation that reveals the hidden language. This means that some parts of Judaism and some parts of Christianity were in agreement despite the commandment of “Thou shalt not make unto thee any graven image,” and operated under the assumption that paintings were not necessarily the creation of idols. Thus, we see that the modern movements of art and architecture were not the first to deal with images through themes such as abstraction and denotation. The language developed during the Byzantine period could rival the best of such visual languages.
Chapters by leading archaeologists in Israel and the Levant explore themes and sites connected with cities and villages from the Hellenistic to early Islamic periods across the region. The result is a rich trove of up-to-date data and insights that will be a must read for scholars and students active in this part of the ancient Mediterranean world.
Unlike the common practice both in the Greco-Roman West and in the Parthian East, to accord the gods a human form, the Nabateans represented their gods in the form of stelae. A systematic survey of Nabatean art indicates that the negation of figurative representation is also evident in all other domains of their creativity, such as rock-carved facades of tombs, painted pottery, oil lamps, coins and jewellery. The archaeological artifacts, inscriptions and literary sources described and discussed in this book reveal a fascinating cultural and religious phenomenon unique within the surrounding milieu and surprising in its persistence and durability.
One of the most widely respected theological dictionaries put into one-volume, abridged form. Focusing on the theological meaning of each word, the abridgment contains English keywords for each entry, tables of English and Greek keywords, and a listing of the relevant volume and page numbers from the unabridged work at the end of each article or section.
Based on the author's thesis (Ph. D.--Hebrew University, Jerusalem, 1996).
Architectural sculpture and liturgical furniture are key genres of late antique and Byzantine archaeology and art, and this book provides the first general overview. It offers two alternative ways of access, via technical terms and illustrations. It can thus serve as dictionary, if a term requires explanation and illustration, or as a visual gazetteer for the research of artefacts. In addition the volume can also serve as an academic textbook.